JSngry

Hopefully not a part of the recent Euro-Exodus...

Somebody.... Anybody... ...2...3...4...

Been trying to find a time where I could post everything at once. Doesn't seem like that's going to happen any time soon, though, so here goes. Ususal thanks and disclaimers apply. TRACK ONE - Ben & "Old Folks" (is this a theme for cuts to follow?). Beautiful. So much virtuosity involved to play so "simply", virtuosity of tone, phrasing, timing, all the things that make music music. Listen to the cat - he never plays the melody per se, yet the melody is the only thing he plays. Art of a very high order. TRACKS TWO - FOUR - Sounds like excerpts featuring the same tenor player. Very fluent player, especially for the time, tremendous swing, very driving. If I had to guess, I'd guess Chu Berry, but I'd not put any money on it. These are cuts I need to obtain myself! TRACK FIVE - "Mop Mop", although maybe that's not what it's titled. Prety sure I her Jacquet, Hamp, & Milt Buckner. Very nice swing-to-bop cut whoever it is. Pianist is very forward thinking harmonically, I'll take some of this too, thanks! TRACK SIX - D. Byrd's "Hush", but by whom? Altoist has a pretty distinctive tone and way of juggling traditional bop harmonic gambits rhythmically, which makes not being able to readily identify him very frustrating. Not Sonny Redd, is it? Actually, the same goes for the entire group - they play the style, so to speak, but find polenty of room for surprises therein. TRACK SEVEN - Again, no idea who it is, but the backing trio is some baaaaaaaad mofos! Helen Merrill? Maybe a touch of a "European" accent there. No matterr - it takes a singer with guts to neither be cowered by nor try to outdo the backing when it's this hardcore. Very nice! TRACK EIGHT - "Whisper Not" on accordion. Now I've heard everything! Good, yeah, but not really anything or anybody I'm particularly taken by. TRACK NINE - WHOA! "When Will The Blues Leave" played totally straight, and burningly so! Tenor sounds quite a bit like Oliver Nelson in spots, but not consistently. Same w/the drummer vis-a-vis Roy Haynes. I'm guessing that this is some really hip mid-60s European Hard Bop players. I'd like to hear more by them, especially the tenor player, whose tone is quite interesting and somewhat "German" in character, ala Heinz Sauer. TRACK TEN - Ok, I swear that I either have this one or have heard it enough back in the day for it to stick, but as to who it specifically is, I can't say. Don Pullen comes to mind, as does some of the freer Dave Burrell things. I like this quite a bit - it's "free" but totally focused in it's developement. Everybody's on the same page from the git-go, and that's the name of the game. No bullshit here! Sure sounds familiar, but if I could remember everything I've heard, what fun would that be? The tune itself isn't really "out" either, it's pretty straightforward, so what they do with it should be able to be "picked up on" by a listener who's so inclined. TRACK ELEVEN - Varitoned alto, humming bass, electric piano, enthusiastic drumming, waht's not to like? Well, the recording quality for one thing, but I can live with that. Is this some late-60s MPS thing? No clue, but I dig it muchly. Lightweight, but positively so. TRACK TWELVE - I dig Joe Harriot quite a bit, and have heard a fair amount of his work, but never the Indo-Jazz things. This would be my guess. I like this very much, and if it is in fact Harriot, that's a hole in my collection I need to fill soon. Spots of it seem "naive", if that makes any sense, but for all the right reasons. TRACK THIRTEEN - Again, no idea (setting a record here for times having to say that...), but also again, I dig it a lot. Not much more to say than that. Very focused in its "free"-ness, so it conveys the sense of a story being told and developed, which i really all I ask of any music. TRACK FOURTEEN - Tune sounds like "Delilah", but it's not. Pianist sounds very familar, but again, I can't call anybody specific, much to my chagrin. Defintiely sounds like a long-standing working group, great empathy and interplay amongst the three. That quasi-Jamal groove is like cream gravy - you could put it on a turd and it would make it taste good! But fortunately, this is no turd. Not the kind of bag I'd necessarily follow for a lifetime, but then again, maybe it is if the results were always this good. TRACK FIFTEEN - BEAUTIFUL tune, a descendant of "Blue In Green", sorta, BEAUTIFUL arrangement! No idea who it is (again), but the writing alone makes this a "must have" for me! That French horn solo is wonderful, wholly personal, "world weary" yet defiant. Yeah! The other soloists don't do as much for me - there's a quality of "fluent noodling" to them, of gliding to and from all the notes without a lot of thought in between. But that's cool - it's a great tune and even greater arrangement, and that, plus the french horn, is more than enough for me! TRACK SIXTEEN - Don Ellis? Fillmore? Bootleg? From a well-. perhaps over-, played cassette? The band is totally into the chart, which makes the difference in something that has the potential to be as ponderous as this one does. That it doesn't end up there is a testament to the difference that the "team spirit" in a band makes. If this is Ellis, there's things of his that I like more, but also things I like less. His was a very unique world, and one that is full of its pwn special rewards. Yeah, that's Glenn Ferris, right? Big FAT ensemble chords, nice. Yes to Don Ellis! TRACK SEVENTEEN - "Ghosts". Sounds like somebdy halfway between Blood & Frissell, kinda like Brandon Ross... Great cut, again, everybody's focused and playing together "spiritually", which be it this or Don Ellis, is the key to making music that exists at a level other than mere "product". I'll take some more of this, too, please! TRACK EIGHTEEN - Duke at his most sardonic. God, I love that man - has anybody ever said FUCK YOU more gracefully? A tremendously satisfying set! Gotta go make a gig. Will try to get to Disc Two upon return.

Or warm fronts in general, especially this time of year.

The door is always open afaic. Warm "welcome backs" await within.

Cockadoodle Ding Dang Do!

Ignorange was the color of her other dress.

Being bummed because the 7-11's out of Go-Go Tacquitos?

EX-cellent!

I think he meant that Miles Davis was a RACER, what with all the Ferraris and shit.

Michael Henderson's project w/Sonny Fortune, Ndugu Chancler, & Badal Roy from the old days, Barry Finnerty from the earliest comeback, & organist Michael Wolff from somewhere. Not as radical as the origianl outfit, but they do cop a most serious groove and do bear investigation.

1975, later than E. Henderson, but besides Lucas, you got M. Henderson & Mtume on hand, straight from the source, along w/Hubert Eaves, Howard King, & John Stubblefield, a.o. No Miles covers, but one side of the album is very much in the pre-retirement mode. The other side's not, alas. Made for East Wind, released in the US by Inner City in 1978, probably been reissued somewhere by somebody.

Garzone is a BAAAAAAAAAAAAAD muthafukka. And this is coming form somebody who is ambivalent at best about Lovano and the other players with whom he is (loosely) stylistically associated. George kicks all their asses afaic. Where they sound unfree, either intellectually or emotionally, he sounds like the music is just flowing through/out of him w/o hindrance. Couple that with a great imagination and total virtuosity, and you got a guy who's the real deal, no doubt about it.

More than a few, if I understand correctly. He was one of the house drummers at Atlantic during their early 50s R&B heyday.

Godspeed, John Glenn!

Speaking of the BFT, I've been listening to little else since getting back home. Don't know that I've glommed anything extra in terms of identification, but that is one helluva good compilation! Responses will be forthcoming, promise!

And for the better, I would assume.

Ok, I've just read the latest installments in the Aric thread now and am starting to get it it. Sooooo...... Ubu is totally cool. This "bullying" crap is passive-agressive control mechanism bullshit, and/or the whiny immaturity of a fragile ego that can dish it out but can't take it in return. Probably seeking revenvge for some long-ago emotional scars that still haven't healed. Call me a bully for saying this, but there it is. I've been called worse by better, and really won't lose any sleep over it. Brownie & Hans will be missed. A wealth of knowledge there, shared wwiht generosity and good vibes. Hopefully they will return in their own time and of their own volition. They will definitely be welcomed back when/if they do. Aric? He's gone, the bad with the good, and vice-versa. Life goes on, and troubled but lovable souls like him gotta learn that the bad they do sometimes overwhelms the good. One or two problematic individuals do not define a community unless they are given the power to do so. I, for one, refuse to do that. Not now, not here, not ever. Yours in obesity, Daddy Pop

Daddy Pop! Much, MUCH love from here.

Granted, I read the board from the top down, so maybe there's something further down I've not gotten to yet, but geez, wtf?

As the writer Gertrude Stein once said of Oakland, "There's no 'there' there." Yet no matter where you go, there you are., so maybe she just needed to buy a pair of reading glassess at Walgreens. I know I do!

Lester Young is watching all of us in the crapper. Oh, that. I'm used to it by now.

I don't get it.

Another adjustment in my perspective towards the relative lack of melodicism in his playing (as opposed to his composing) came when I learned of his physical limitations that were brought on by an accident back in the 40s(?). Severely limited his right hand sngle line capabilities, or so I've heard. So maybe he sublimated his melodic energies into the other aspects of his playing, I dunno. Still not as emotionally "nuanced" a player as I prefer, but for sheer lyricism, when you got Desmond on board, hey...

Well, since it's "like" and not "love", I went with the most postive response!